Kim Newman

With its genuinely cute hero and appealing storyline, Dumbo's exactly right for younger children but not too milk-soppy for anyone over eight. Indispensible.

The City Of Lost Children is as great a film as you thought "Chitty Chitty Bang Bang" was when you were five years old.

Genuinely disturbing thriller classic from the master of suspense.

Epic performances in a movie that seethes with atmosphere.

A subtle criqiue of the main character that contains some astonishing set pieces.

The greatest laugh-out-loud comedy of the 80s.

An absolute must.

Utterly compelling - Sean Penn is a powerhouse in support - and with a railway station set - piece in which De Palma actually betters what was his previously Untouchable effort.

Clouzot achieves an analysis of the human condition at least as bleak as Huston's The Treasure Of The Sierra Madre but without the grandstanding speeches and with more subtle performances.

Spartacus' merry rabble swarms across country to face a Roman army that, seen from a distance, resembles either a group of ants moving in perfect formation or living chessboard squares marching in order — an unbeatable, fascist machine. It's a breathtaking moment, which forces you to realise that Kubrick (before CGI) had to command extras as rigidly as Crassus runs Rome.

Great effects for its time and some incredible performances makes this a true cinema classic.

Savagely witty on backstage life and audaciously edited, Jazz stands alongside Cabaret as the best “musical” of the last 20 years.

Cleverly wrought and expertly played crime thriller.

Absolutely brilliant. It's funnier, sadder and cooler on the big screen.

Well, even if it is essentially four hours about a selfish, silly cow, it's impeccably well made, and should be seen by anyone with even a passing interest in romance or movies.

A well-warranted remastering of his Aussie new wave classic.

Kurosawa is always worth a look but this is a particular classic that has influenced so much to come, it's almost essential.

Humane and harrowing, highly recommended. This one will stay with you.

One of the strongest, most effective horror films of recent years — with awards-quality lead work from Essie Davis, and a brilliantly designed new monster who could well become the break-out spook archetype of the decade.

In 1956 audiences flocked to The Searchers precisely because it was a John Wayne western, and lapped up its mix of Injun-fightin' action, rough comic knockabout and intense, emotional storyline. Seen now, it is all that and much, much more.

A movie masterpiece.

Because it is a sequel, it's less satisfying than the more idea-driven original, but this is still top-flight kick-ass entertainment

Lemmon and Mathau's finest hour.

If hell is in the details, Roman Polanski has captured it here in his disturbing portrait of falling into psychosis.

Bogart and Cagney are gloriously dark in this gangster tour-de-force.

Deep down, you know it's not as good as Seven Samurai — but few films are. You also know that next time it's on television, you'll find yourself watching it.

It's a deep film, but also elusive, accepting that some mysteries can never be solved.

Beautifully directed with a lovely visual lyricism, this film packs a western punch with perfect performances and a fine script.